Location: San Francisco, CA, US
What does the future sound like?
Is it the hum of an idling Tesla? Retro-foley from The Jetsons? The rattle of a Soylent Green dispenser?
More important, what if the sound of the future was up to you? That’s the challenge we’re offering.
Here at Anki, we make robots, AIs, and real-world gaming that mixes the first two. Yes, actual robots: not pixel-perfect screen renders, but real machines that you can hold in your hand and race across your coffee table.
As our Audio Designer, you’ll create and implement actual sounds, experienced acoustically, i.e. audio that travels through actual air to human ears—not piped into earbuds or some $20 headset that’s part microphone. You’ll take on everything from music to sound design to the human voice.
We’ve laid the initial ground, and we want to perfect it. Our products were praised by Apple’s Tim Cook in a recent keynote and receive accolades from CNet and the like. Serious VCs invest in us, and our scenic office space and competitive salaries reflect that.
We’re building the future of entertainment. If you want to know what that sounds like, join us and we’ll discover it together. New sound concepts? We’re in. New ideas? Lay ‘em on us. We can’t wait to hear what comes next.
If Anki was a Thanksgiving Dinner, you’d be: The dinner bell. Just hearing your sounds should get our users’ mouths to water.
If Anki was the Indy 500, you’d be: The joker in the pit crew who rigs the muffler to sound like a NASA launch.
If Anki was a Transformers movie, you’d be: Okay, first of all, we’re NOT, but if we were, you’d be Soundwave. Or, if you’d prefer, the foley artist. We’d never force anyone to be in Transformers.
Duties and Responsibilities
Own implementation of audio assets for projects studio wide, including voice, music, and sound design.
Push the envelope in audio design for real world, physical applications
Work well together in a fast paced team environment
Work closely with the Audio Director to define audio brand Anki products
• 8+ years experience in the games industry as an Audio Designer or Audio Engineer
• Shipped multiple hit game titles as Audio Lead or Director
• Expert WWISE or equivalent interactive audio middleware experience
• Expert Protools or equivalent linear editing experience
• Experience in location and studio recording
• People management experience with both internal and external resources
• Self-organized, self-driven, with desire to be part of a great team
• Excellent communication skills: written, verbal, visual, mockups
• Linear post production audio experience on trailers, film, TV, commericals a plus
• Experience with physical product / toy industry a plus
• Experience with WWISE a plus
• BA in Music and/or Audio Engineering a plus
FYI – You will need to be prepared to
1) Provide a short reel demonstrating linear and interactive skills.
2) Participate in a short Anki Audio Test.
• Competitive salaries, stock options and great benefits (health, 401(k), flexible spending accounts, life and ad&d benefits, subsidized public transportation costs, generous vacation)
• Great San Francisco office with lots of light and great views, convenient to every mode of mass transit – on wheels, on rails and on water
• Regularly scheduled on and off-site team building activities
• Start-up environment where you’ll help shape the culture and have a huge impact
• Free catered lunches, snacks, and drinks
• You get to work on innovative products and challenging problems with some amazingly talented (and fun) people!
Company: Cloud Imperium Games
Location: Wilmslow, Cheshire, UK
Cloud Imperium Games is looking to add an experienced Senior Sound Designer to the CIG Audio team, based at Foundry 42 Ltd in Wilmslow, UK. This is not a junior position.
The ideal applicant will have strong technical knowledge of Wwise middleware, and will have shipped at least one title, ideally more; the successful applicant will be expected to be able to adjust to different development tools as we’re developing a lot of our own tech. This project is very technical in its nature and as such you’ll be expected to drive progress of systems and tools and pick up our toolset (based on CryEngine) quickly.
As a Senior Sound Designer, as well as the usual prerequisites of producing world class sound content and setting a high audio standard internally, you’ll also have some responsibility for mentoring and training juniors, and for defining and communicating how best to do what we do in CIG Audio. We are pushing for a high quality bar and you should have an idea of how to push it higher! The sound of Star Citizen is being forged by a centralised core audio team where all members are encouraged to explore concepts and present ideas to their team mates.
In depth experience of working on FPS titles will definitely prove useful, and a love of space/science fiction always helps!
Please apply with a great demo-reel/portfolio.
Be aware this is an in-depth sound design position and not one for those who may feel sound design is not at the core of everything they’re about. If you feature music heavily in your application, you run the risk of being instantly disqualified.
•Have a genuine passion for games (yes, even after years within the industry!) and be invested in the latest developments within game sound
•World class sound effect design and implementation. We may have a lot of memory and CPU to play with but you’ll still want to spend them wisely
•Specify and design audio tools for our audio programming team. If you can talk their language(s), so much the better
•Responsive to feedback from peers on the team. We should be able to criticise each other’s work
•Innovative and adaptable; able to drive new audio features and develop methodologies for continuous improvement across the department
•Collaborate on design approaches to the sound of the game, actively looking to assist others with your experience and knowledge
•Should also be able to work independently, take ownership of aspects of the sound and achieve great results
•Keen to collaborate closely with members of the wider team making Star Citizen and Squadron 42 a brilliant experience
•Liaising with world class outsource resources – we get the best to help us, and you need to be able to talk with them to get what material we need
•Some music and dialogue implementation may be required – it’s all sound after all
•Solid experience of at least one (preferably multiple) Digital Audio Workstations & various plug-ins (we’re Reaper fans here but you can use what you’re most comfortable with, if you’re capable of producing world class assets in a particular DAW)
•A working knowledge of common audio middleware and/or proprietary tech. Cryengine is a real plus point here, also Wwise, but at this stage you’ll be adaptable
•Plenty of general experience using game engines to implement and work with sound. If you’ve used another engine and it does stuff better, we’ll look to replicate it, if it improves things
•A game audio mind-set. E.g. you like to granulate loops and re-sequence that stuff. You wouldn’t be seen dead looping a 30 second wav in a game anymore
•Scripting knowledge – the likes of Python, Lua, XML etc.
•PD, Max/MSP, C++ or C# would be a plus, though we’d hope you wouldn’t need to, it all helps. Some visual programming wouldn’t go amiss either, e.g. Kismet, Flowgraph, Frostbite
•A great show reel of relevant audio work for games
•Field recording experience, esp. with firearms sessions
•Deep experience with Kyma or a similar esoteric system so you can produce elements like nobody else
•Good at communicating with other disciplines
•Good with a soldering iron, circuit bending, modular synths and outboard, etc.
Wilmslow, Cheshire, UK
Company: EA Audioworks
Location: Burnaby, British Columbia, Canada
The Position and Team:
We are looking for an enthusiastic and skilled Audio Artist who can make an immediate contribution to audio development within the EA Audioworks team. The successful candidate must be able to work with an audio team for a specific project(s), as well as work with Audioworks Directors to help drive the goals and vision for the group as a whole. This individual should have core experience in various phases of audio design and production, with proficiency in at least one key component – sound design, music, voice production, and implementation. This candidate will work within the Audioworks team and must have the ability to collaborate with other aspects of game development (i.e. Art, Animation, Engineering, Design, Production, Marketing) to push the quality bar for game audio. The ideal candidate will have a passion for sports video games, with an overwhelming drive to create a world class audio experience. They must be a good problem-solver and a good communicator with some game-creation and good sound creation skills.
The Challenge Ahead:
– Creating a quality audio for our video games
– Submitting final audio files on or before required deadlines
– Submitting EQ and mastering of game music, sound effects or speech for audio director review
– Tuning of interactive elements in regards to audio (such as XML files)
– Quality control review for the projects audio (pre-CQC) on all applicable platforms
– Location recording of any needed sound elements
– Foley recording of any needed sound effects
– Sound design of source elements
– Speech editing, naming and file organization
– Audio post production for any in game video content
– Take direction from the Audio Director on a project, but own the quality of your work
What an Audio Artist does at EA:
– Minimum of four years game/audio experience and strong audio post production skills
– Has some exposure and experience using game development tools, technology and pipelines(Wwise, FMOD)
– Is completely comfortable with modern audio creation equipment, software and recording techniques, with a high level of proficiency in at least one DAW
– Good audio mixing skills
– Solid knowledge of PC and Mac hardware and software
– Great sound design and listening skills
– Strong communication skills
– Good creative and technical thinker
– Works well as part of a team
– Ideally some experience with interactive audio tools and processes (i.e. MaxMsp, Pure Data, Reaktor)
– Strong artistic and creative sensibilities
Company: Hexany Audio
Location: Los Angeles, CA, USA
exany Audio is a Los Angeles based sound and music production studio founded in early 2012. We specialize in sound design, original music, and dialogue production for games, interactive media, and VR (virtual reality). We’re currently looking for a new Technical Sound Designer to join our team full-time on-site at our studio in Los Angeles.
This is a full-time salaried position in-house. Contractors and remote applicants need not apply. Also note this is NOT a music composition position.
As a Technical Sound Designer at Hexany, your role will be extremely technical (no, really?), creative, and collaborative. While you will certainly be designing sounds and creating content, a large percentage of your time will be spent working in audio middleware and game engines implementing the rest of the team’s content as well.
You will design sounds in Pro Tools and should be a Wwise guru. Wwise experience is an absolute must, as most of our projects use it. You should also be a technical computer ninja capable of at least basic scripting. You don’t need to be a master coder by any means, but basic programming knowledge is definitely a plus.
• Designing awesome sounds for all types of games/VR experiences
• Implementing sound and music like a boss in Wwise
• Integrating sound and music direct in-engine (Unity, UE4)
• Scripting creative solutions to audio problems
• Mixing in audio middleware and directly in-engine
• A passion for video games
• Experience working with Pro Tools for sound design
• Extremely proficient with Wwise
• Very proficient with audio integration in Unity and UE4
• Awesome technical chops on both Mac and PC
• Extreme attention to detail and great organizational skills
• A team-player mentality and the ability to take direction and constructive criticism from project leads
• Basic programming experience
• Experience with Unreal 3
• Experience with Max/MSP
• Avid mini-golfer
Required Application Materials*
1a. Cover Letter, which should include:
• Why you’re interested in working at Hexany
• What games you’ve been playing recently
• 1b. Demo Reel (include a link (or links) in your cover letter):
At least three examples of sound design to picture
*Cover letter & resume should be submitted as a single, multi-page PDF document titled Last_First_16TSD_Application.pdf. (e.g. Murch_Walter_16TSD_Application.pdf)